Harmony in context

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McGraw-Hill, 2003 - Music - 920 pages
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Designed for undergraduate music majors, Harmony in Context provides the richest possible musical context for the study of harmony, constantly encouraging students to translate what they are learning into better performances and better listening. The musical examples and anthology encompass a wide variety of different composers and repertoires. Students will particularly appreciate the clarity of the presentation and the attractiveness of the text’s layout, both of which enable a smooth progression through the material.

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Contents

The Overtone Series
13
Chapter B Rhythm and Meter
23
Metric Accent
29
Some Notes on the Correct Notation of Rhythm
37
Scales Keys
44
Other Modes and Scales
52
Introduction to Species
71
Chapter E The Rudiments of Harmony
89
Combining Prolongational Chords
387
The LeadingTone Triad
398
Pitch Patterns
404
The Mediant
410
Other Uses of the Mediant and Submediant
416
More on the 56 Technique
429
Secondary Dominants II
497
V7ofVIl
505

Chapter F The Rudiments of Harmony
103
Chapter G Musical Style
115
Sacred Vocal
121
The Romantic Style
127
Part 1
133
The Principles of Part Writing
140
Melodic Style
148
The Tonic and Dominant Triads
158
The Principles
160
Harmonic Function
178
Elaborating the IVI Progression
185
Texture Triads in First
194
The Neighbor V6
201
Parallel Chords
207
Chapters Cadences
223
The Deceptive Cadence
229
Phrase
242
Bass Reductions
248
Thematic
262
Extending Period Structures
274
Nonchord Tones
287
Suspensions
296
Pedal Point
302
Chords
311
The Passing
317
Pitch Patterns
323
The Supertonic Metric
331
Metric Reduction
338
Harmonic Rhythm Hypermeter
348
Hypermeter
355
Writing Your Own Progressions
363
The Dominant Seventh
377
Pitch Patterns
512
Secondary LeadingTone Seventh Chords
520
The vii7 over a Pedal Point
528
Part 2
536
Modulatory Processes
565
Pitch Patterns
572
Binary
583
The Ternary Principle
599
Contrapuntal Genres
615
The Fugue
623
Modal Mixture Variation
636
Variation Forms
647
Sectional Variations
653
The Neapolitan and Augmented
664
The Neapolitan in Root Position
671
The German +6
678
The French +6
684
Modulation to Distantly Related
741
Chromatic Third Relationships in Modulatory
749
The CommonTone Diminished Seventh
759
Introduction to Large Forms
769
Guided Studies of Sonata Form
775
A Fragment by William Grant Still
794
Nonsequential Linear Processes
808
Schumann Widmung
828
A Summary of Chromatic Functions
835
Nonfunctional Pitch
863
Nonfunctional Diatonic
872
Conclusions
882
Subject Index
888
Musical Example Index
908
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